How would you describe the type of prog rock you captured in this collection and what is significant about this genre?
– I tried to achieve variation in styles, keys, phrasing, time signatures and tempos. Styles include symphonic, eclectic, folk, crossover, Canterbury and krautrock forms of progressive rock.

What’s your personal connection to this music and the bands that represent it?
– I borrowed two Yes albums, “Fragile” and “Close to the Edge”, from my uncle Folke some 25 years ago and was instantly hooked. I then spent many hours and many Swedish crowns in a shop called Garageland Records in Umeå. The guys there, especially Hans Norman and Lars Gillen, taught me a lot.

Name a few of the bands that inspired you when piecing this collection together!
– Some of my personal favorites are Yes, Emerson, Lake & Palmer, Camel, Pink Floyd, Gentle Giant and Focus.

Even though classic bands like Rush, and many others before them, continue to sell out arenas, prog has always been a little bit of an underdog mainstream-wise. Why do you think it’s appealing to the general public although it doesn’t get a lot of or airplay?
– I think a great melody is a great melody and genres don’t matter so much at the end of the day. That said, there probably is an appeal in progressive rock being a bit more daring and risk taking than mainstream music. Also, the genre tends to have great singers and instrumentalists and that appeals to a lot of other aspiring musicians.

How’s the prog rock scene today and where do you think it’s heading?
– Since the mid ‘70s, the genre has been somewhat dormant with a few renaissances happening. I don’t know where it’s heading, but my hope is that it doesn’t become retro but instead tries to move forward – which is the very definition of being progressive.